Operating under the principle that Broadway simply isn’t Broadway without the presence of fabulously dressed drag queens strutting onstage, the new musical Kinky Boots has arrived to fill the void left by the closing Priscilla, Queen of the Desert. Adapted from the hit 2005 British film and featuring a book by Harvey Fierstein and a score by pop star Cyndi Lauper in her Broadway composing debut, the show is proficiently entertaining even if its established tropes seem all too familiar.

Set in the British town of Northamptonshire, the story concerns Charlie (Stark Sands), who inherits a failing shoe factory after his father dies. Although he initially has no interest in preserving the business, Charlie changes his mind upon meeting Lola (Billy Porter), a flamboyant drag queen who inspires him to change their product line to elaborately glitzy boots suitable for a male clientele.

While his shallow girlfriend (Celina Carvajal) encourages him to follow through on a plan to turn the factory into upscale condominiums, Charlie instead attempts to retool the factory, much to the consternation of his macho employee Don (Daniel Stewart Sherman) who has little use for Lola’s kind. Will Charlie manage to produce his new product line in time for an upcoming footwear exhibition in Milan? Will he find love with Lauren (Analeigh Ashford), the sexy factory employee who pines for him? Will Don overcome his prejudices and learn to both accept Lola for who he is and embrace Charlie’s scheme? Such are the not-so-burning issues of the schematic book, which nonetheless manages to work thanks to Fierstein’s talent for witty dialogue and his canny knack for pushing audience-pleasing emotional buttons.

Although her pop/rock score is largely generic, Lauper’s gift for infectious tunefulness is on ample display in such rousing numbers as “The Most Beautiful Things” and “Everybody Says Yeah.” She also provides sturdy 11 o’clock showpiece numbers for the two leads with “The Soul of a Man” and “Hold Me in Your Heart,” powerfully sung by Sands and Porter respectively. But the song that most registers within the context of the story is the witty lament “The History of Wrong Guys,” delivered in wonderfully endearing fashion by Ashford.

Director/choreographer Jerry Mitchell keeps things moving at an entertainingly brisk pace, and while the numbers spotlighting a quintet of glamorous drag queens feel straight out of La Cage Aux Folles he’s also devised at least one terrific dance sequence, incorporating the factory’s conveyer belt, that feels clever and original.

Although the performers occasionally struggle with their English accents, they deliver engaging performances, with Sands appealing as the suddenly fired-up Charlie and Porter—who’s covered this sort of ground before in such shows as the Angels in America revival—both funny and moving as the dignified, self-possessed Lola. Ashford is charming as the lovestruck Lauren, and Sherman steals the show as the stubbornly resistant Don, and delivers a hilarious pre-show cell phone warning as well.

And then, of course, there are the suitably outlandish titular creations designed by Gregg Barnes, which earn a well-deserved ovation when worn by the entire ensemble in the rousing closing number.

Al Hirschfeld Theatre, 302 W. 45th St. 800-432-7250. www.Telecharge.com.